Almost Dawn in Libya, a collaborative project for which eight photographers raised money for four simultaneous Libyan exhibitions of photographs from the country’s conflict—as described here on LightBox—reached its fundraising goal of $40,000 and will be completed in the next few weeks. Photographer André Liohn, one of the guiding forces behind the initiative, spoke to LightBox from Misrata, Libya, where he was preparing for the installation in that city.

“That we finally have the pictures in our hands,” says Liohn, “is very exciting.”

Liohn estimates that they are about 80 percent done with printing the photographs for the shows, but the progress is dodged by remnants of the conflict that the exhibitions are intended to address. On the day before Liohn spoke to LightBox, militiamen seized control of the Tripoli airport. Elections are also on the horizon. It’s still unclear whether the other photographers who are part of the Almost Dawn project—Lynsey Addario, Eric Bouvet, Bryan Denton, Christopher Morris, Jehad Nga, Finbarr O’Reilly and Paolo Pellegrin—will have difficulty getting to Libya for the openings.

But, after everything endured by the photojournalists who captured the Libyan conflict on film, these obstacles are not overly daunting. Liohn says he’s ready to get the shows up and running, particularly because the people he meets in Libya are ready too. Despite—or perhaps because of—the trauma of war, they seem, to him, eager to help with the vision of healing through photography.

“We feel that the project is pretty much as much theirs as it’s ours,” says Liohn, citing the people who have donated both living space and expensive printing services. “To me, it’s very courageous that they are taking so much responsibility for making this happen.”

The Almost Dawn in Libya team has also provided LightBox with the panoramic view shown here, as designed by Paolo Pellegrin and curator Annalisa d’Angelo, which replicates the gallery set-up that will be seen in Libya. The lack of captions was part of the original vision for the project, meant to allow viewers to see past any divisions between Libyan regions and peoples. Although work remains to be done—unsurprisingly, considering the task of mounting four identical exhibitions across a still-scarred nation—the shows are expected to open in early July in four Libyan cities, Tripoli, Misurata, Benghazi and Zintan, with the goal of providing fodder for debate and discussion about the country’s future among those who come to see the photographs.

“They fear that Libya will not become a good country,” says Liohn. “Still they are not letting the fear keep them from making Libya into what they want.”

Learn more about Almost Dawn in Libya—and the photographers involved at their emphas.is fundraising page here.